Nearly four years ago I wrote “Notes on the Turner Codex” for Miskatonic River Press as a tribute to Keith Herber (and his scenario “The Evil Stars”). I recently discovered the article had inspired another blogger, one Craig Stanton, to create art for the various bogus album covers for the band (along with a few sundries). I’ve dropped him a line… to make sure he corrects some blurring between what Keith created and what I built off of from his fine work (and to politely suggest he link to my original article). Anyway, I thought I’d share what he created based on my descriptions.
God’s Lost Children (S/T) :
The cover depicts the logo of the band, the three letters of its name in silver on a black background, tumbled together forming a strange shape. Viewers making a Cthulhu Mythos roll note the similarities with the dreaded Yellow Sign, though the cover art is completely mundane.
The cover is a triptych of photos of the three band members (Lochnar, Schwartz, and Holland), each bound in a straight jacket. Holland glares at the viewer, his head low. Schwartz has his head turned to the side and is muzzled. Lochnar stares straight ahead, his moutha bloodied mess, two streaks of blood framing his chin. Behind each is a large stone pillar engraved on which are the letters G (Schwartz), L (Lochnar), and C (Holland). Scribbled across the front is the title, as if painted in blood. Careful examination of Lochnar reveals he is wearing an onyx v-shaped earring, set with nine diamonds; anyone familiar with the spell Free Hastur will see a parallel between this shape and the monolith arrangement in the spell. The reverse of the cover shows the band members in full regalia standing behind a bonfire. Lochnar has his hands raised above his head. An Astronomy roll notices his arms frame the constellation Taurus.
Forever Lost: The Best of God’s Lost Children
The cover art is the band, photographed from behind, at the conclusion of their final performance in Jacksonville. Lochnar is at center-stage, back lit and casting a long shadow, while Holland holds his bass aloft in one hand and Schwartz pushes his drum-kit off its weird faux-stone riser. The audience is awash in flash bulbs and cigarette lighters held aloft.
All things considered, a pretty impressive job.